Directeur Musical Gilles Colliard

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Directeur Musical Gilles Colliard

www.orchestredechambredetoulouse.fr

• History of the Orchestra 4 • Recordings 6

• Recent reviews 9 • Contact 18

• HISTORY OF THE ORCHESTRA

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The Toulouse Chamber Orchestra was founded by the well - known french orchestral conductor Louis Auriacombe in 1953, becoming the first French chamber orchestra ever created and one of the oldest chamber orchestras of the world. Many notable composers have worked with this historic ensemble for concerts and recordings, and have dedicated numerous compositions and creations to this group.

The orchestra was founded as an association with twelve solo string players. After the death of Louis Auriacombe in 1971, several notable violinists took the direction of the orchestra, including Georges Armand, Bojidar Bratoev, and Augustin Dumay.

In 1992, violinist Alain Moglia became the director of the orchestra and led succesful tours to Asia in 1995 and in the following year to the United States. From 2002 to 2004, violist Gerard Caussé continued at the head of the orchestra. In 2004, the association gave way to a new administrative structure as a cooperative production company, being the first orchestra in France to work in this way.

Since 2004, under the artistic direction of Gilles Colliard, Swiss violin virtuoso, composer and conductor, the orchestra created an authentic and new artistic projet called “the contemporary baroque”. The idea is easy but difficult at the same time: use different instruments, bows and tunings each time. Whether it is with gut or steel strings, baroque or modern bows, the objective is to better serve each musical text with greater authenticity. A true baroque music specialist, Gilles Colliard, makes the orchestra an authentic baroque ensemble, without renouncing the classical, romantic or contemporary repertoire.

The Chamber Orchestra of Toulouse regularly performs with renowned soloists, such as Christophe Coin, Gautier Capuçon, Natalie Dessay, Régis Pasquier, Michel Lethiec, Anne Queffelec, Richard Galliano... just to mention a few in the recent past and collaborates with the best French vocal groups such as the Chamber Choir Les Éléments and l'Escale Chromatique.

Directeur Musical Gilles Colliard

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L'Orchestre de Chambre de Toulouse dirigé par Claude Manlay en juin 1973. ©André Cros

The French ensemble is also invited to numerous and important festivals throughout France (La Chaise-Dieu, La Vézère, Pablo Casals in Prades, Septembre Musical de l'Orne ...) and abroad (Japan, Sweden, Switzerland, Spain , Argentina, Brazil, Macedonia, Bermuda, New Caledonia, ...).

The Ministry of French Culture, the City of Toulouse, Toulouse Métropole, the Departmental Council of the Haute-Garonne, the Occitanie region and the Regional Direction of Cultural Affairs (DRAC) support the orchestra. The Toulouse Chamber Orchestra offers the public more than 160 thematical concerts each year performing in concert halls, churches, cultural centers, schools, universities and even factories.

The Toulouse Chamber Orchestra has performed in every continent, visiting more than 30 countries and giving more than 6000 concerts to an audience that has always remained true to it.

International activity continues to be important in these years with tours around the world, and a season of concerts in Toulouse and Tournefeuille which the subscriptions holders eagerly renew each year.

The Toulouse Chamber Orchestra is a recognized ensemble both in France and abroad.

• RECORDINGS

- EMI CLASSICS. Albinoni - Corelli - Pachelbel.Orchestre de Chambre de Toulouse.Louis Auriacombe

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- EMI CLASSICS. Albinoni. Adagio.Concertos & Sonatas. Orchestre de Chambre de Toulouse. Louis Auriacombe & Georges Armand

- EMI CLASSICS. Vivaldi. Les Quatre SaisonsOrchestre de Chambre de Toulouse. Louis Auriacombe

- EMI CLASSICS. Vivaldi. 6 ConcertiOrchestre de Chambre de Toulouse. Louis Auriacombe

- EMI CLASSICS. Vivaldi. Vier Konzerte fûr Viola d’amore. Orchestre de Chambre de Toulouse. Michel Pons & Georges Armand

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La Follia. Italie BaroqueOrchestre de Chambre de Toulouse. Gilles Colliard

- PIERRE VERANY. Haydn. Concertos pour VioloncelleOrchestre de Chambre National de Toulouse.

- PIERRE VERANY. Tchaïkovski & GlazounovOrchestre de Chambre National de Toulouse. Alain Moglia

- NAÏVE. Britten. Variations on a theme of Franck BridgeOrchestre de Chambre National de Toulouse.

- GUILD. Le Piano FrançaisOrchestre de Chambre de Toulouse. Gilles Colliard.Timon Altwegg (Piano)

- SERAPHIM. Haydn & Leopold Mozart.Toulouse Chamber Orchestra. Louis Auriacombe & Georges ArmandAlbert Calvayrac (Trumpet)

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LAST RECORDINGS

• RECENT REVIEWS

- Review from out last CD Telemann “Don Quixote”. Calliope Records: Orchestre de Chambre de Toulouse. Direction, Gilles Colliard, Viola da Gamba, Anne Gaurier. April 2019

The TIMES Magazine. Londres

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- Review from the concert of the Orchestre de Chambre de Toulouse. André Bernard, direction. Auditorio de Zaragoza, Sala Mozart (Spain).

Heraldo de Aragón. April 2018.

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From the baroque period to impresionism… “Last Wednesday on April 18th, the Philharmonic Society of Zaragoza presented the Toulouse Chamber Orchestra in the 1538th concert of the Society. They had an interesting program that represented four different centuries of music, from the XVIII to XX century, from Henry Purcell to Claude Debussy and from Georges Bizet to Antón Arensky. Under the direction of André Bernard, the musicians performed a very dynamic dance suite from Purcell called “The Fairy Queen”. Clears attacks and precises endings distinguished this performance, hightlighting some of the more exciting movements like the “Monkey’s Dance”, “Dance of the Followers of the Night” and the final “Chaconne”.

A special sentimental accent with the “Variations of a theme of Tchaikovsky op. 35” of A. Arensky completed the first half of the program which all of the musicians knew how to express with full romanticsm with a very lyrical and expressive dialog in all of the strings, highlighting the cello variations and the doublebass pizzicato from the Coda. They began the second half of the concert with the transcription for strings of the “ Six Epigraphes Antiques “ of C.Debussy, trancribed by Jean François Paillard. The musicians offered us a performance full of colors and landscapes with a rigorous execution of the score. Beautiful melodies and feelings were transfered to the musicians

- Review from the “Concert à la Criée” at the Festival Classique au Vert in París. Orchestre de Chambre de Toulouse & Gilles Colliard, violin. France Musique. August 2017

L’Orchestre de Chambre de Toulouse a donné samedi une nouvelle version de son fameux « concert à la Criée » au Parc Floral à Paris. Avec cet ensemble, le spectateur est maître du programme : il lui suffit de crier le nom des œuvres qu’il souhaite entendre.

(The Toulouse Chamber Orchestra gave, last Saturday, a new version of their well-known “Concert à la Criée”) at the Parc Floral of Paris. With this ensemble, the public is the real chef of the program: they just have to scream out the name of the pieces they want to hear.)

Avec l'Orchestre de Chambre de Toulouse, c'est le public qui détermine le programme, © Radio France / Charlotte Landru-Chandès En avant pour un petit « parcours gustatif des nationalités » ! Au beau milieu d’un amphithéâtre de verdure sous un grand chapiteau blanc, l’Espace Delta, les douze musiciens de l’orchestre à cordes prennent place.

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Parmi les douze œuvres préparées pour le concert, seules dix seront jouées ce soir. Mais ils ignorent encore lesquelles… En effet pour une fois c’est le public qui va déterminer le programme.

(We start off with a “ tasty walk among the nationalities”! In the middle of a nice amphitheatre and under a large white tent, Delta’s Space, the twelve musicians from this historic orchestra take their place on the stage. From the twelve pieces prepared for this concert, only ten of them will be performed this afternoon. But they have no idea which pieces they will play... In fact, today it will be the audience who decides the program of the concert.)

Avant de s’installer, les spectateurs ont reçu un « menu » et parmi les morceaux à la carte, ils vont devoir sélectionner deux entrées, deux plats et deux fromages. Pour passer commande, il leur faudra crier l’œuvre de leur choix. « L’idée est de faire participer le public, explique Gilles Colliard, chef et premier violon solo de l’Orchestre de Chambre de Toulouse. Nous leur proposons une sorte de patchwork musical qui regroupe toutes les grandes époques de la musique. Avant chaque plat, j’introduis les différents concepteurs de recettes musicales, et ensuite je laisse le public s’exprimer »

(Before the concert, the public has previously received a program based on a “menu” and from all the pieces of this “menu”, the audience will choose two starters, two main dishes and two cheeses. To “place their order”, they just have to scream the composer’s name and the piece they want to listen to. «The idea is to involve the public, explains Gilles Colliard, a style of musical patchwork that brings together all the great eras of music. Before each course, I present the different chefs of the musical recipes, and then let the audience express themselves ».)

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Gilles Colliard, violon solo et chef de l'Orchestre de Chambre de Toulouse, © Radio France / Charlotte Landru-Chandès

Les « Concerts à la Criée « ont été lancés en 2007 et depuis, l’expérience a été renouvelée environ tous les deux ans dans des lieux comme l’église Saint-Pierre des Cuisines à Toulouse ou la salle Gaveau à Paris. Pour Classique au Vert en revanche, c’est une grande première ! Le principe a séduit Marianne Gaussiat, directrice artistique du festival. « Je trouve cette forme de concert à la criée très originale, très moderne et très sincère dans le contenu. C’est un bon moyen pour dédramatiser le concert de musique classique, de le rendre accessible et festif ».

(The "Concert à la Criée" was created in 2007 and since then, the experience has been renewed approximately every two years in places such as the Saint Pierre des Cuisines Auditorium in Toulouse or the Salle Gaveau in Paris. For Classique au Vert on the contrary, it is a novelty! The idea seduced Marianne Gaussiat, artistic director of the festival «I find this form of concert to the very original, very modern and very sincere in content. It is a good way to remove the seriousness from the classical music concert and make it accessible and festive ».)

Du Bizet et du Mendelssohn en plats de résistance.Tout au long du concert, en animateur convaincant, Gilles Colliard joue avec le public, présente les œuvres avec humour et bonne humeur. Dans sa Suite baroque, Edvard Grieg reprend une « vieille recette », Felix Mendelssohn est un « cuisinier prodige », Georges Bizet concocte de bons petits « plats français »…

(The main dishes were composed of pieces ranging from Bizet to Mendelssohn. During the entire concert,Gilles Colliard plays with the public as an animated presenter, and he presents each of the works with good humor. In his baroque-style suite, Edvard Grieg takes up an "old recipe", Felix Mendelsssohn is a "prodigious cook", Georges Bizet makes good little "French dishes”…)

En guise « d’amuse-bouche », le chef propose une savoureuse transcription pour cordes du « Lion » extrait du Carnaval des Animaux de Camille Saint-Saëns. Musicien accompli, c’est en premier violon solo que Gilles Colliard entraîne son orchestre, et quand sa partition lui impose le silence, le violoniste redevient chef et bat la mesure avec son archet.

(As an "appetizer", the chef offers a delicious transcription for the strings of the "Lion" extracted from the Carnival of the Animals by Camille Saint-Saëns. An accomplished musician, the first solo violin, Gilles Colliard, conducts the orchestra with his violin. When he is not playing, he becomes the leader and conducts the orchestra, beating the pulse with his bow.)

Vient alors l’heure du premier vote du public. Les spectateurs crient avec un tel enthousiasme qu’il est impossible de distinguer les noms des compositeurs. « Ce n’est pas toujours évident d’entendre l’œuvre qui ressort, explique Gilles Colliard. On saisit parfois une consonance mais je demande souvent au public une confirmation à main levée ».

(After the “appetizer”, the moment of the public vote commences. The audience shouts with such enthusiasm that it is impossible to distinguish the names of the composers. "It is not always easy to understand which works the public want," explains Gilles Colliard. "Sometimes we hear a majority, but I often ask the audience to raise their hands to confirm their choice.")

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Au moment du vote, le chef d'orchestre se transforme en animateur convaincant, © Radio France / Charlotte Landru-Chandès

Rangée par rangée, le maestro laisse les spectateurs s’exprimer. Verdict : en entrée ce seront donc l’Elegy d’Edward Elgar et la Bagatelle en mi mineur d'Antonin Dvorak. Si le choix des entrées se fait sans trop de difficultés, celui du plat de résistance divise davantage. La Symphonie n°10 de Mendelssohn, l’Arlésienne de Bizet, la Simple Symphony de Benjamin Britten et la Suite Holberg de Grieg se disputent le podium. Et pour mettre le public d’accord, Gilles Colliard a la solution : « Si vous avez encore faim à la fin du repas, en guise d’armagnac, on peut vous offrir du Britten… ».

(Row by row, the maestro lets the spectators express themselves. Verdict: Incoming will be Edward Elgar's Elegy and Bagatelle in E minor by Antonin Dvorak. The choice of the starters is made without much difficulty, it is the main course that is completely divided. Symphony No. 10 by Mendelssohn, l'Arlésienne by Bizet, Simple Symphony by Benjamin Britten and Grieg's Holberg Suite compete for the podium. And to put the public in agreement, Gilles Colliard has the solution: "If they are still hungry at the end of the meal, like Armagnac, we can offer a bit of Britten…".)

La « surprise » du chef en dessert La joie du public ne s’épuise pas. C’est un tonnerre d’applaudissements quand arrive l’heure du dessert et que la surprise du chef est révélée : les spectateurs vont finir leur repas en beauté avec le presto de « l’Été » des Quatre saisons d'Antonio Vivaldi. Gourmands, ils en redemandent. « Ce n’est pas très sage de trop manger… Ceci dit c’est votre digestion et non la mienne ! » Taquin, le chef élance son orchestre dans deux autres œuvres dont le Britten, laissé de côté un peu plus tôt. (The "surprise" of the chef is a dessert.The joy of the public is inexhaustable. It is a thunderous applause when the moment of the dessert arrives and the surprise of the chef is revealed: the audience will finish their meal with beauty with the Presto of the Summer from the “4 Seasons" by Antonio Vivaldi.)

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Gilles Colliard entraîne ses musiciens dans l'Eté de Vivaldi, extrait des Quatre Saisons, © Radio France / Charlotte Landru-Chandès

A la fin du concert, l’Espace Delta est rempli, certains ont même été contraints de rester debout pour mieux voir. « Ce genre de concert attire nos mélomanes habituels, mais aussi des personnes qui n’auraient peut-être pas osé pousser la porte d’un autre concert de musique classique », constate Marianne Gaussiat.

(At the end of the concert, the Delta Space is completely full, and even some spectators have been forced to stand to see better. "This type of concert attracts our usual music lovers, but also people who perhaps never dared to attend a classical music concert," says Marianne Gaussiat.)

« A la salle Gaveau, le public hurlait le nom des œuvres » A chaque fois, la Criée est une réussite. Gilles Colliard se réjouit. « Nous ignorons toujours comment va réagir le public. Quand nous avons testé l’expérience à la salle Gaveau, avec un public plutôt habitué à des concerts traditionnels, nous avons été très surpris de voir les spectateurs hurler le nom des pièces qu’ils voulaient entendre, et quand je dis hurler, c’était vraiment le cas ! »

(«At the Gaveau Salle, the public shouted the name of the works». Each time, the Concert à la Criée is a success. Gilles Colliard rejoices. "We never know how the public will react. When we tried this experiment at the Salle Gaveau, with a public more accustomed to traditional concerts, we were very surprised to see the audience

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shouting the names of the pieces they wanted to hear, and when I say shout, it was really the case!.)

Musiciens de l'Orchestre de Chambre de Toulouse, © Radio France / Charlotte Landru-Chandès

Cette fois encore, au parc Floral, c’est un succès. Et même les quelques enfants présents se sont pris au jeu. Au moment du plat, le nom de Bizet est sorti de leurs lèvres avec enthousiasme. Parmi les 1217 spectateurs présents, Eliane, une violoncelliste retraitée originaire de Monaco, venait au Festival Classique au Vert pour la première fois. « Ce beau programme européen nous a mis en appétit ! Tout le monde en a eu pour son goût, j’ai beaucoup apprécié ». Annie, elle, fréquente le festival depuis quatre ans et est un peu plus partagée : « C’est un excellent orchestre mais j’aurais préféré me contenter de lever le doigt. Quand j’assiste à un concert, mon oreille est préparée à entendre du silence entre les œuvres ». (This time again, at the Parc Floral, this concert has been a success. Even some of the children present have participated in the game. At the time of the main dish, Bizet's name came out of their mouths with great enthusiasm. Among the 1217 spectators present, Eliane, a retired cellist originally from Monaco, was coming to the Classique au Vert Festival for the first time. «This beautiful European program has whet our appetite! There was something for everyone, I liked it a lot ». Annie, who has been a regular at the festival for four years had a somewhat different opinion: "It is an excellent orchestra but I would have preferred to only raise my finger instead of shouting each piece. When I attend a concert, my ear is prepared to listen to the silence between the works ».)

Quoiqu’il en soit, l’Orchestre de Chambre de Toulouse ne compte pas s'arrêter là et proposera à nouveau son Concert à la Criée du 26 au 29 septembre à Tournefeuille et à Toulouse.

(In any case, the Chamber Orchestra of Toulouse does not intend to stop there and will propose its new concept of Concert à la Criée from September 26 to 29 in Tournefeuille and in Toulouse.)

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- Review from the concert of the Orchestre de Chambre de Toulouse & André Bernard conductor, at the Teatro Ristori of Verona (Italy). L’Arena, il giornale di Verona. February 2017

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Data 17.02.2017 Pagina 47 Autore Gianni Vil lani

* Text translated in English:

The "Concert for violin" promotes Tagliavento

The young musician has managed to revive the work of Boulogne, the first interpretation of this work in Italy.

There was no doubt about the performance of the Chamber Orchestra of Toulouse, invited in the sixth symphonic season of the Ristori Theater. The French orchestra, preceded by a curriculum and consistent history, proved to be very comfortable under the able and consummate direction of chef André Bernard, playing with great lightness, ease and precision, a program that comes entirely from their country.

Quick in phrasing and with delicious tone, this is how the "Six Ancient Epigraphs", a 1914 composition, immersed in the sensuality of the Arcadian world delineated by Debussy, suggesting that the string arrangement of the original piano version for four hands is not a simple transcription, but a real rewrite, since the timbral research, the tonal instability, the disenchanted classicism and the conscious use of modalism, has made Debussy's mature style fully recognized.

Brilliant, the transalpine orchestra, also in the "Carnival of animals" of Saint-Saëns, with its affectionate melodies of well-known composers (and Saint-Saëns himself), with the good humor that characterizes this work. To end the concert, the Bizet's "First Suite dell'Arlesienne" was played with a fresh and popular spirit. The graceful third movement of this work has a fascinating concentration marked by harmonic differences and expressive accents that seem to anticipate Mahler.

The unknown "Concert for violin in G major" by Boulogne, the first interpretation of this work in Italy, is influenced by Viennese classicism, with the refinement of its language, the exuberance of the harmonies and the richness of Leclair and Gossec, in the extended script that crosses the three broad movements. Clarity in the part of the soloist, from the agile and clear timbre phrasing, beyond the undeniable happiness of the general melodic

• CONTACT

Renaud Gruss General Manager. Orchestre de Chambre de Toulouse

Tél. : +33 667.68.31.94 ou +33 561.22.16.34 e-mail : rgruss@orchestredechambredetoulouse.fr

Pascale Heydari Production assistant. Orchestre de Chambre de Toulouse

Tél. : +33 665.78.27.37 ou +33 561.22.16.34 e-mail : oct@orchestredechambredetoulouse.fr

Address : Orchestre de Chambre de Toulouse

22, allée de Barcelone 31000 Toulouse

(FRANCE)

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Directeur Musical Gilles Colliard

Directeur Musical Gilles Colliard

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Crédits photos: Brice Devos. Eléments graphiques et logo: Sciapode Créa